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STYLE MAGAZINE DECEMBER 2019 – COVER

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STYLE MAGAZINE OCTOBER 2017 – COVER

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IO DONNA SCHEMA LIBERO I COSTUMI CAMBIANO

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Habits change. Every year, in this season, I dedicate an appointment of Schema Libero to beachwear: I looked for them, working backwards on my blog The Men Issue (you’ll find it on Style Magazine website, in the “Moda” (“Fashion”) section). In Five years I’ve always recommended to wear on the beach an appropriate, chic, maybe a bit retro attire, inspired by Marcello in La Dolce Vita. And I’ve always suggested to use swim shorts. This year I do an about face: is it for that annoying invasion of skinny guys that is accustoming us? I don’t know. Now there’s a desire of more vitality, of beautiful bodies – slim but defined – of hair whitened by dried salt, of suntan. After all, changing is beautiful. I linger only on two factors, that make me say no: coloured tank tops and slippers. Yes to flip flops, espadrilles. But no to slippers, please.

IO DONNA SCHEMA LIBERO IL PONTE INTITOLATO A PPP

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The bridge dedicated to PPP. Ariola is a district of Gerocarne, in the province of Vibo Valentia, in Calabria, with 500 inhabitants in 1960. That year, a certain writer and director that made history arrived thereabouts: Pier Paolo Pasolini. He started the research for the location of “The Gospel according to St. Matthew”, 4 years before the first action. At that time, Ariola could be reached only with a mule track: Pasolini promised to contribute to the building of a bridge, in order to make the life of the inhabitants easier (today they’re around two hundred). The bridge was built and the director kept in touch with a family living there through letters: that, unfortunately, were lost during the emigrations in the following years. In that small town there are four workshops of ceramists that, probably, wouldn’t have existed without that bridge. 57 years later- maybe a little too late- in march, the bridge was dedicated to Pier Paolo Pasolini.

IO DONNA SCHEMA LIBERO COLOR DI FOGLIA

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Leaves’ colour. In his case, that kind of photography defined as still-life couldn’t have a most suitable name. For 35 years Karl Blossfeldt (Schielo 1865 – Berlin 1932) photographed leaves, seeds and flowers. Images that the german sculptor and photographer used to show his students how nature’s shapes, adapting to environment and weather, acquire different and fascinating morphologies. Blossfeldt, indeed, said: “Plants don’t have to be evaluated with an insensitive and mere functionalism, but their shapes develop on the basis of logic and adaptation and with their primordial strenght push every part to obtain the highest artistic expression”. His first photographic volume, Unformen der Kunst, was published in 1928 and today it’s still considered so much modern, that it suggests the hazard of a new form of modern art linked to the idea of “back to the roots”. The New Futurism? By now content ourselves with wearing the colour of nature. In this season’s collections there are garments for every taste and complexion. The opera omnia of Karl Blossfeldt